It becomes clear now, likewise, why the patient climbs into the first story, then recollects herself and seeks to go out at the gate. In her seventh year she and her family had changed their abode and this had been before in the first story but was now on an upper floor. She is trying yet to climb into the mother's bed, this still remaining as a fundamental motive. Only she is not seeking the bed where it stands at the present time but where it stood in childhood, in the first story and in another house. She goes, therefore, downstairs but remembers, unconsciously of course, that this is not the right floor and wants now to go out at the gate to find the home of her childhood. Later in the country when she so thoroughly frightens her landlady and her daughter, there she is also going to a woman she loves and she leaves the house for this purpose and goes at least into the room that lies in the direction of the house where the beloved lies. Later still she opens the door wide in her sleep so that her lover can have free entrance. We might also explain now in great part the sleep walking of the mother. As far as I can discover, the mother also as a very small child lived in another home than the one in which her sleep walking began. She ran about her room at night and could not find her bed and felt around in distress without coming upon the chamber, both of which stood in the usual places. This may be explained by the fact that in phantasy she was seeking the bed and chamber of her earliest childhood, which of course stood elsewhere. Moreover she attained by her moaning the fulfilment of her unconscious wish to be set by her mother upon the chamber and then lifted into bed. The wanderings in the moonlight, after which likewise she could not find her way back to bed, may be similarly explained, though I learned only this much about her dancing in the moonlight, that in her childhood she was very fond of dancing, which is also the case with our patient. Perhaps she wished also to play elves in the moonlight, according to poems or fairy tales or had, like her daughter, earned the special love of her parents through her skill in dancing. We are now at the chief problem. How is it then that the night's rest, the guarding of which is always the goal of the dream, is motorially broken through in sleep walking? There is first a special organic disposition, which is absent from no sleep walker, a heightened motor stimulability[11]. This appears clearly with children, and so for example with our patient as a tendency to convulsive attacks, pavor nocturnus and terrifying dreams, from which she starts up. [11] Cf. with this Krafft-Ebing, _l. c._ "Slight convulsions or cataleptic muscular rigidity sometimes precede the attacks."